Showing posts with label calligraphy. Show all posts
Showing posts with label calligraphy. Show all posts

Saturday, 10 May 2014

藤原行成 Fujiwara no Yukinari



Fujiwara no Yukinari (藤原 行成, 972 – January 3, 1027) was a Japanese calligrapher (shodoka) during the Heian period. He was memorialized for his prowess in his chosen art by being remembered as one of the outstanding Three Brush Traces (Sanseki 三跡), along with Ono no Michikaze and Fujiwara no Sukemasa.



Yukinari was the son of a courtier by the name of Fujiwara no Yoshitaka. After the early death of his father, he was raised by his grandfather, Prince Kanenori. Yukinari had a fairly successful career as a court official, where he served as a Major Counselor. Yukinari further improved the Japanese style calligraphy (wayoshodo 和様書道), and showed great respect to its founder, Ono no Michikaze (894-966). He even mentioned in his diary, Gonki, that he had a dream wherein he met Michikaze and learnt calligraphy from him.

Yukinari was known as the master of kana. His style was mild and easily emulated, his lines were dainty and exquisite, resulting in highly elegant characters. Fujiwara Yukinari is regarded as the founder of the Sesonji lineage of calligraphy, which later became the leading tradition of wayo (和様) calligraphy. His extant works were most written in Mana (Chinese characters used as units of meaning) in Gyosho or Sosho.



One of his most well-known works is the handscroll of 白居易 Bai Juyi's eight poems from volume 65 of his Poetic Anthology. He wrote this masterpiece in 1018 when he was forty-seven years old. The scroll was made by joining together nine pieces of specially prepared paper known as ryoshi, then dyed in light brown, claret, and other shades. This handscroll was treasured by Emperor Fushimi (reigned from 1288 to 1298), and the colophon over the seams on the back of the paper attests to this. Currently, the scroll is stored in the Tokyo National Museum.


*Text via Wikipedia entry on Fujiwara no Yukinari.

Friday, 25 January 2013

Voice Poetry: my recording of "Self-embrace on Silk Prayer"


I have always loved hearing the sounds of poetry: reciting quietly to myself, listening to poetry recordings, and those lovely songs set to poems as well as lyrics composed for music. Being particularly drawn to, and as a firm believer in, the "poetic essence" in written words (and in all artistic mediums), I love reciting and hearing the sounds of many different literary genres, not restricted to poetry-this awakens in me the beautiful psychological state of "flow"...

Here is a recording I made the other day reciting my recent poem Self-embrace on Silk Prayer. It was my first attempt at recording my poetry. :-)


宋徽宗,欲借風霜二詩帖。
Huizong's poem and exquisite Dancing Crane/ Slender Gold calligraphy, 
Northern Song dynasty.

Tuesday, 27 December 2011

Beauty Matters

"I think that we are losing beauty, and there is a danger that with it, we will lose the meaning of life."

~Roger Scruton, philosopher & writer


于右任 書法四屏
*A micro-website compiled by the National History Museum in Taipei on Yu Youren.


Why Beauty Matters by Roger Scruton, BBC documentary (2009).



*Thank you my dearest Leanne (里杏姊姊♥) ever so much for sending this to me...

Saturday, 21 May 2011

易安居士

《聲聲慢》

尋尋覓覓,冷冷清清,淒淒慘慘戚戚。
乍暖還寒時候,最難將息。
三杯兩盞淡酒,怎敵他、晚來風急?
雁過也,正傷心,卻是舊時相識。

滿地黃花堆積,憔悴損,如今有誰堪摘?
守著窗兒,獨自怎生得黑?
梧桐更兼細雨,到黃昏、點點滴滴。
這次第,怎一個、愁字了得!

溥儒仕女圖; Portrait of a Lady, by Pu Ru (Pu Hsin-Yu).

漱玉詞意圖, 立軸, 劉旦宅繪 (via)


李清照(1084~1155)號易安居士,宋代濟南(今屬山東)人,婉約派代表詞人。父李格非,為元祐後四學士之一,夫趙明誠為金石考據家。崇寧元年(1102),徽宗以紹述神宗為名,任蔡京、趙挺之為左右相,立元祐黨人碑,以司馬光等百二十人為「奸黨」,其父列名黨籍,清照以詩上挺之。崇寧二年(1103),明誠出仕,矢志撰述以訪求、著錄古代金石文字為職志的《金石錄》一書。大觀元年(1107),蔡京復相,挺之卒。蔡京以挺之為元祐大臣所薦,為庇元祐「奸黨」,追奪所贈官。明誠、清照夫婦因此屏居青州(今山東益都)鄉里十年。宣和二年(1120)蔡京致仕後,明誠起知萊州(今山東掖縣),此後又自萊移淄。靖康之難後。明誠奔母喪南下,知江寧府,清照載書至建康。建炎三年,趙明誠卒。離京自建康出走浙中,清照隨亦入浙,經台、嵊、黃岩,從禦舟海道至溫州,復至越州,衢州,於紹興二年(1132)赴杭州。紹興四年,作《金石錄後序》。紹興中,以《金石錄》表上於朝。卒年約七十馀。善屬文,於詩尤工。 《宋史·藝文志》著錄《易安居士文集》七卷,俱不傳。清照創詞“別是一家”之說,創“易安體”,為宋詞大家。詞集名《漱玉集》,今本皆為後人所輯。

評價

男中李後主,女中李易安,極是當行本色。前此太白,故稱詞家三李。 (沈去矜)

清照以一婦人,而詞格乃抗軼周柳,雖篇帙無多,固不能不寶而存之,為詞家一大宗矣。 (《四庫提要》)

李易安作重陽《醉花陰》詞,函致趙明誠云云。明誠自愧勿如。乃忘寢食,三日夜得十五闋,雜易安作以示陸德夫。德夫玩之再三曰:「只有『莫道不銷魂』三句絕佳。」正易安作也。 (《詞苑叢談》)

李易安詞,獨闢門徑,居然可觀,其源自淮海、大晟,而鑄語則多生造,婦人有此,可謂奇矣。 (《白雨齋詞話》)

易安佳句,如《一剪梅》起七字云:「紅藕香殘玉簟秋」,精秀特絕,真不食人間煙火者。 (同上書)

清麗其詞,端莊其品,歸去來兮,真堪攜隱。 (趙明誠)

婉約派四大旗幟之一,四旗中號“閨語”。
李清照是中國古代第一位女詩人,亦稱“一代詞宗”。

(文字節錄轉載)


*李清照詞全集

書法家遆高亮楷書李清照詞

芍藥  Peony, China Tsvetochnoe (via).

Monday, 25 April 2011

幽蘭操

《幽蘭操》唐 韓愈

蘭之猗猗,揚揚其香。眾香拱之,幽幽其芳。
不采而佩,於蘭何傷?以日以年,我行四方。
文王夢熊,渭水泱泱。采而佩之,奕奕清芳。
雪霜茂茂,蕾蕾於冬,君子之守,子孫之昌。

~ 出自《全唐詩》

【墨蘭圖】——鄭思肖捲紙本水墨(日)大阪市立美術館藏

此圖以淡墨寫幽蘭一叢,蕭散清逸,風韻自標。無水土雜木,​​簡潔疏朗,高雅不群。畫家於宋亡後作蘭皆不寫土,人問何故,答日:“土為蕃人所奪,汝尚不知耶?”拳拳愛國之情,於此可見。

鄭思肖(1241 ~1318),字億翁,號所南,連江(今屬福建)人。宋末曾以太學生應博學鴻詞試,授和靖書院山長。宋亡後,隱居平江(今江蘇蘇州)。坐臥必向南,誓不與北人交往,因號所南。擅畫墨蘭,兼工墨竹。畫蘭根不著土,以寄故國之思。

釋義

  蘭花開時,在遠處仍能聞到它的幽幽清香;如果人們不去採摘蘭花卻好像它仍然佩戴在身上,對蘭花本身有什麽損傷呢?今日的變故,並非我的過錯。我常年行走四方,看到隆冬嚴寒時,荠麥卻正開始茂盛地生長,一派生機盎然,既然荠麥能無畏寒冬,那麽不利的環境對我又有什麽影響呢?一個君子是能處于不利的環境而保持他的志向和德行操守的啊。 

賞析

  深谷幽蘭,清芳自足,甘于淡漠,正是象徵著一個人不管是做學問還是要成就事業,都要能夠承受寂寞和忍受別人的不理解,用達觀、平和的心境去面對風雨人生。然而,這並不只是某種孤芳自賞的清高,而是因爲學習君子之道的過程本身就是快樂和充實的。

  【序釋】

  蘭,在中國文化中,是“入我門中,能諫我心之草”是先祖留給後人的無字天書。

  孔子酷愛蘭花,有“蘭為王者香”之語。此言含義一是蘭香為香中之王,一株好的蘭花開放的時候,整個山谷聞不到別的花香,這是蘭香香芬豐富的生物學特性。二是,蘭只為王者而香。蘭隱於幽深的山谷中,不開花時,與群草無異,只有王者,才能認識蘭所蘊含的思想價值,從而去深山中尋訪。

  蘭獨特的生物學特性還有“春化”,就是蘭要經歷一個長期的低溫期(0℃-10℃)才能順利開花,保證花品和香品。野生的蘭花,秋天孕育花蕾,經歷整個冬天的休眠,第二年春天才開花,春分前後花期結束。

  【總釋】

  本詞分為上中下三闕。

  上闕,中心是蘭香是王者之香。
  譯文:蘭花的葉子,長長的,在風中搖曳,優雅而飄逸;蘭香,在風中升騰,向四方飄揚。蘭香所及之處,所有花香都黯淡無味,並成為蘭香的一部分,眾多的花香拱衛著蘭香,蘭花的芬芳,遠而不淡,近而不濃,幽幽的從中心向八方輸布。蘭是香中之王,如果沒有人認識到而不去采摘佩戴他,對蘭花而言,又有什麼妨害呢。

  中闕,中心是蘭只為王者而香。
  譯文:一天接一天,一年接一年,東南西北,四方都走遍,我雖然像香蘭一樣,不以無人而不芳,不過我也在積極地尋找實現自身社會價值的機會。周文王夜夢飛熊入帳,渭水之畔訪遇太公望(姜子牙,因周文王有“興周之業,先祖早寄希望於太公也”之說,故名太公望),從而奠定周朝八百年基業,這是多麼讓人嚮往的啊。蘭一旦被王者采摘佩戴,定會讓其清雅的芬芳和其間蘊含的思想如日月般光耀。

  下闋,中心是蘭歷苦寒而成其香。
  譯文:雪霜鋪天蓋地,樹冠上厚厚的一層,雖是冬天,但看起來萬物都像更加茂盛了一樣。嚴寒中,蘭的花蕾,靜靜的孕育和等待,在忍耐中積累。蘭之所以有王者之香,是因為在寒冬中孕育了花蕾,如果人們能明白這是君子應該遵守的道理和法則,那麼後世子孫必定昌盛。


古琴曲《幽蘭操》又稱《猗蘭操》。“猗”字在古漢語中有四種解釋:一是歎詞,表示贊美,如《詩經·周頌·潛》“猗與漆沮”(漆、沮是河流名);二是句末語氣詞,如《詩經·魏風·伐檀》“河水清且漣猗!”;三是通“倚”字,依靠,如《詩經·衛風·淇奧》“猗重較兮”(重較是古代卿士乘坐的車子);四是柔順的樣子,如《史記·司馬相如傳》“猗柅從風”(猗柅又寫作“旖旎”)。 “操”,指琴曲名及演奏方法,如《箕子操》、《龜山操》。

原文
  習習谷風,以陰以雨。之子于歸,遠送于野。
  何彼蒼天,不得其所。逍遙九州,無所定處。
  世人暗蔽,不知賢者。年紀逝邁,一身將老。
  傷不逢時,寄蘭作操。

出處
  樂府詩集(郭茂倩編)卷五十八 琴曲歌辭二

相傳爲孔子所作。

蔡邕(蔡文姬之父)在《琴操》中說:“《猗蘭操》者,孔子所作也。”“孔子歷聘諸侯,諸侯莫能任。自衛反魯,過隱谷之中,見香蘭獨茂,喟然歎曰,夫蘭爲王者香,今乃獨茂;與衆草爲伍,譬猶賢者不逢時,與鄙夫爲倫也。”“乃止車,援琴鼓之雲:習習谷風,以陰以雨;之子于歸,遠送于野;何彼蒼天,不得其所!逍遙九州,無所定處;時人諳蔽,不知賢者;年紀逝邁,一身將老!自傷不逢時,托辭于香蘭雲。”
  《古今樂錄》曰:“孔子自衛反魯,見香蘭而作此歌。”
  《琴集》曰:“《幽蘭操》,孔子所作也。”
  古詩《幽蘭操》,是精擅琴藝的孔聖人自感生未逢時的絕世作品。唐代著名詩人韓愈曾作同名作品,以唱和孔子。《幽蘭操》只有短短的六十四個字,卻韻味十足,清冽之中隱含冷豔。汲取了史詩與英雄傳說的浩渺氣質,帶著蘭花冷漠的美豔,但又說著人生的變動和永恒。

Wednesday, 8 December 2010

屋漏痕之美: The Beauty of Water Stains on the Wall





‎Water Stains on the Wall is Mr. Lin Hwai-Min's fourth piece inspired by the aesthetics, spirit, beauty and philosophy behind the art of Chinese calligraphy and writing (after the breathtaking Cursive Trilogy: Cursive, Cursive II and Mad Cursive). Inhabiting a rather different sphere—"air" (clouds were his original source of inspiration in the creative process of Water Stains on the Wall, and images of clouds are used lavishly and beautifully in the stage design of this piece), for me, Water Stains on the Wall is perfection, transcendence, magnificence, the purest form of poetry and consciousness. I think I might be even more in love with it than with Moon Water, which, up until now, is my favourite piece in Mr. Lin Hwai-Min's oeuvre and what started my profound love affair with Cloud Gate Dance Theatre...

It was a magical evening, when I saw ethereal yet exquisitely powerful swans gliding in space with perfectly controlled 氣 ("chi" or "prana"). The dancers' breathing was as beautiful as a calligraphic work, as the movements and music themselves...





水痕 夏雲 飛鳥與驚蛇

唐朝,代宗大曆7年,西元772年,狂草大師懷素,在洛陽拜謁書法界的老前輩顏真卿。

顏真卿問他,對書法有什麼見解。

懷素說,他觀察到夏天的雲彩變化萬千,有如峻奇的山峰,經常揣摩學習,寫起字來「其痛快處如飛鳥出林,驚蛇入草,又遇坼壁之路,一一自然。」

顏真卿問:「何如屋漏痕?」

據說,懷素欣然起座,握住顏真卿的手說:「得之矣。」

傳說的另一個版本說,35歲的「狂僧」懷素激動地抱住顏真卿的腳,吼道:「賊!」

《屋漏痕》是滲入牆壁的雨水,逐漸在壁上浮現的痕跡。

也有人說,《屋漏痕》是穿透窗戶或屋舍裂縫,投到房裡的斑剝日光。

這個書法史上的軼事讓我著迷。水痕,漏光,乃至懷素提到的夏雲,飛鳥,驚蛇,都是大自然的狀態。

醞釀多年,我決定以《屋漏痕》為題編舞,看看自己能不能觸及那「一一自然」的境界。


文/林懷民 (雲門舞集創辦人暨藝術總監)





「行草三部曲」之後,林懷民再與古代書魂邂逅,打造奇幻山水《屋漏痕》。

雲門舞作《九歌》的荷花、《流浪者之歌》的黃金稻米、《水月》的流水、《花語》飄舞的粉色花瓣,是林懷民的大自然物語,《屋漏痕》再以自然為素材,移山引水進劇場。

傾斜8度的白色舞台,雲影飄移,舞者是水墨精靈,是身手矯健的俠客,雲裡雲外飛騰,飄忽如夏天的雲,虛靈如白壁上的水痕,雲峰霧海處舞影躍動,用身體繪出一幅奇幻壯麗的潑墨山水,在陡峭如山的斜坡上。

*{此段轉載自雲門舞集官網; images and the above paragraph: via Cloud Gate's official website of Water Stains on the Wall.}





Water Stains on the Wall rehearsal (see also here), and choreographer/ artistic director Lin Hwai-Min talks about this piece.



台北天空日落日岀屋漏痕
Water stains on the wall, Taipei skies at dusk & dawn...

Sunday, 23 May 2010

徽宗之書: 美, 寂, 詩 Song Huizong


The refined elegance and subtle beauty of Song dynasty "artist emperor" Huizong's calligraphy, Slender Gold (also known as the Crane Font; 瘦金書, 雅稱鶴體), emanates a soft hue of loneliness, a sense of time past, which I have always been deeply attracted to and in love with. It is exquisitely scented nostalgia, melodious and poetic memories. It is Rilke's poetry of all my heart. It is Rosa Ponselle's sorrowful voice lamenting lost love in her haunting rendition of Massenet's Élégie.

Huizong's Slender Gold also has a special place in my heart because it dearly reminds me of my grandfather's calligraphy (in particular his 小楷 — small script) and handwriting. My grandfather used to fill the margins of his books with thoughtful notes and endless, beautiful words.


Emperor Huizong of Song (Poem and Calligraphy)

宋徽宗 瘦金書


I am too alone in the world, and not alone enough
to make every minute holy.
I am too tiny in this world, and not tiny enough
just to lie before you like a thing,
shrewd and secretive.
I want my own will, and I want simply to be with my will,
as it goes toward action,
and in the silent, sometimes hardly moving times
when something is coming near,
I want to be with those who know secret things
or else alone.
I want to be a mirror for your whole body,
and I never want to be blind, or to be too old
to hold up your heavy and swaying picture.
I want to unfold.
I don't want to stay folded anywhere,
because where I am folded, there I am a lie.
And I want my grasp of things
true before you. I want to describe myself
like a painting that I looked at
closely for a long time,
like a saying that I finally understood,
like the pitcher I use every day,
like the face of my mother,
like a ship
that took me safely
through the wildest storm of all.

~Rainer Maria Rilke, translated by Robert Bly




Rosa Ponselle (1897~1981) singing Jules Émile Frédéric Massenet's Élégie / Elegy for Victor, in 1926.



Ô, doux printemps d'autre fois, vertes saisons,
Vous avez fui pour toujours!
Je ne vois plus le ciel bleu;
Je n'entends plus les chants joyeux des oiseaux!
En emportant mon bonheur...
Ô bien-amé, tu t'en es allé!
Et c'est en vain que revient le printemps!
Oui, sans retour,
avec toi, le gai soleil,
Les jours riants sont partis!
Comme en mon coeur tout est sombre et glacé!
Tout est flétri
pour toujours!

Emperor Huizong of Song, Cranes 1112

O sweet springtimes of old verdant seasons
You have fled forever
I no longer see the blue sky
I no longer hear the bird's joyful singing
And, taking my happiness with you
You have gone on your way my love!
In vain Spring returns
Yes, never comes back
The bright sun has gone with you
The days of happiness have fled
How gloomy and cold is my heart
All is withered
Forever

Emperor Huizong of Song, Classic Thousand-character Grass (Cursive) Script

Thursday, 6 May 2010

禪宗水墨 梁楷 / Liang Kai: Chan Paintings


梁楷,南宋東平人,禪宗畫家,擅人物,山水,釋道,鬼神等題材。曾經任職最高級的宮廷畫師,皇帝還特別賜給金帶,這種畫院最高的榮譽,梁楷卻不接受。他喜好唱酒,酒後行為不拘禮法,自稱是「梁瘋子」。性情曠達,豪放不羈,作品重於氣韻的發揮,往往寥寥數筆,人物之神態躍然紙上,所謂「天機超逸,不事繩墨」,完全是一種純任自然的性靈表現,達到了藝術最高妙的境界。梁楷的作品中「潑墨仙人」,墨瀋淋漓,筆力遒勁,意氣奔放,而有法度。另一幅「太白行吟圖」,將一代詩人李太白飄逸的神態與不凡的氣質,盡現於毫楮,使人依稀如見其面帶微笑之色,如聞其放歌飲酒之章。他還有一福「羲之書扇圖」,畫一位童子侍硯,一童子捧扇,大書法家王羲之則濡墨揮扇,風神俊朗,意態瀛灑,神色栩栩如生。從這幾幅作品,也可以見到梁楷風格的一斑了。梁楷傳世的作品,草草為之者,人謂之「減筆」。

(文獻參考: 宋 中國的文藝復興時代)


Liáng Kǎi (fl. late 12th-early 13th c.) "The Madman"

Liang Kai excelled at painting figures, landscapes, Buddhist and Taoist subjects, as well as spirits and deities. He learned painting from Jia Shigu (or Chia Shih-ku 賈師古 fl. mid-12th c.), but he outdid his teacher in being able to convey the grace and bearing of figures. In 1210, he was awarded the rank of Painter-in-Attendance and bestowed with the honored Golden Belt at the court of Jia Tai (1201-1204 CE, Southern Song Dynasty) where he was known for mastery in painting figures, landscapes, and other minor subjects. He is most famous for originating or developing the "Xie Yi" (寫意, sometimes translated as "sketch style") of painting, where the objective is to evoke the subject or atmosphere with minimal use of detail; it requires a profound mastery of painting technique and perfect concentration, but also allows for the beauty of accidental effects. He left his position at court to practise Chan Buddhism (禪宗). Xie Yi style is closely associated with the "sudden enlightenment", "mindfulness", and "spontaneity" aspects of this school of Buddhism. One of his more famous pieces, Budai, shows the Budai Luohan wandering through the country-side. The swift, smiling brush strokes embody the Chan philosophy of sudden enlightenment.

His paintings indicate that he knew and respected many men and was sympathetic to them. Landscapes or still life did not hold him. He sought "the human" directly, through portraiture. Liang Kai's painting parallels his two lifestyles. His early work uses Academic conventions although his essential interests are already present. The basis for his fine reputation at the Academy is not clear. In his later work the Chan (Zen) style emerges. Liang is credited with inventing it and having such strong influence that he created the whole school.

Works generally attributed to Liáng Kǎi: painting of the poet Li Bai, the Drunken Celestial (aka A Sage); The Sixth Patriarch Cutting Bamboo; and in a more academic style, a series called the Eight Eminent Monks paintings.

(Text references: Terebess Collection & Wikipedia)

 

梁楷 李白行吟圖 Li Bai Strolling and Chanting a Poem

梁楷 潑墨仙人圖 Drunken Celestial in Splashed Ink

梁楷 布袋和尚 Budai Luohan

梁楷 秋柳雙鴉圖 Autumn Willow and Two Ravens

梁楷 雪景山水圖 Landscapes in Snow

梁楷 六祖破經圖 The Sixth Patriarch (Hui Neng) Tearing up the Sutra


梁楷 六祖斫竹圖 The Sixth Patriarch (Hui Neng) Cutting Bamboo

梁楷 羲之書扇圖 Wang Xizhi Calligraphing a Fan

潑墨仙人圖 局部 Details of Drunken Celestial in Splashed Ink

(*See more Liang Kai's paintings here.)

Thursday, 15 April 2010

Princesses of Ming 明


All exquisite jewellery below by Ming Design, London.


Qing Dynasty royal emerald snuff bottle, 19th Century. 
十九世紀 御用翡翠饕餮紋鼻煙壺 (image via 寒舍藝術中心)
Chinese Princess: Lantern Earrings
Pavé-set diamonds, black & green enamel, 18ct white and yellow gold


The Great Wave off Kanagawa (神奈川沖浪裏, Kanagawa Oki Nami Ura, lit. "Under a Wave off Kanagawa"), by Katsushika Hokusai (葛飾北斎).

Japanese Princess: Hokusai Water Earrings
Brilliant-cut diamonds, marquise-cut sapphires, blue enamel, 18ct white gold


Chinese Princess: Pagoda Ring
Onyx, square-cut emeralds, 18ct yellow gold


Tibetan Monastery (image via)
Tibetan Princess: Monastery Ring
Natural imperial jade, 18ct yellow gold


明 隆慶 甜白雙龍戲珠紋碗 (image via)
Chinese Princess: Dragon Chasing Flaming Pearl Earrings
200 pavé-set diamonds, rubies, Tahitian pearls, 18ct white gold


 傳統藝術 蝙蝠剪紙女紅 (image via)
Chinese Princess: Happiness Bat Earrings
108 pavé-set diamonds, white gold


Tibetan prayer wheels (image via)

Tibetan Princess: Open Ring
Pigeon's blood rubies, 18ct yellow gold


Kusho 1, by Shinichi Maruyama

Film still from Gion Bayashi 祇園囃子 (1953), directed by Kenji Mizoguchi

Japanese Princess: Tourmaline Ribbon Ring
7.64ct oval-cut Brazilian tourmaline, brilliant-cut diamonds, 18ct yellow gold


 Details of an Indian miniature painting (image via)
Indian Princess: Paisley Earrings
27cts emerald drops, 3.66cts brilliant-cut diamonds, 18ct white gold


an albinistic peacock
Japanese Princess: Swan Hoops
590 pavé-set diamonds, 18ct white gold


 Phoenix Hall (Amida Hall, or 鳳凰堂 hōō-dō), Byōdō-in (平等院), Uji City, Kyoto Prefecture, Japan {image via}

Tokyo Imperial Palace
Japanese Princess: Aquamarine Drops
30cts pear-shaped aqamarines, pavé-set diamonds, 18ct white gold


The Lake Palace, Udaipur, Rajasthan, India (image via)

Indian Princess: Lake Palace Cuff
Natural yellow brilliant-cut diamonds, 18ct yellow gold


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